THE  UNIVERSITY 

OF  ILLINOIS 

LIBRARY 

370 

ie6e 
no.  36-47 


wass^*" 


Universityofni^^™ 


UNIVERSITY     OF     ILLINOIS     BULLETIN 

Issued  Weekly 
Vol.  XXIII  December,  14,  1925  No.  15 

[Entered  as  second-class  matter  December  11,  1912,  at  the  post  office  at  Urbana,  Illinois,  under  the 
Act  of  August  24,  1912.  Acceptance  for  mailing  at  the  special  rate  of  postage  provided  for  in 
section    1103,  Act  of  October    3,    1917,    authorized  July   31,    1918.] 


EDUCATIONAL  RESEARCH  CIRCULAR  NO.  39 


BUREAU  OF  EDUCATIONAL  RESEARCH 
COLLEGE  OF  EDUCATION 


APPRECIATION   OF    LATIN 

by 

Henry  W.  Prescott 

Roy  C.  Flickinger 

Laura  B.  Woodruff 

Irene  G.  Whaley 

and  Others 


THE  LI&RARY  OF  THf 
JAN  2  6  1926 

UNIVERSITY  OF  ILLINOIS 


PUBLISHED  BY  THE  UNIVERSITY  OF  ILLINOIS 
URBANA 


Prefatory  Note 

The  material  for  this  circular  was  prepared  under  the 
direction  of  Professor  H.  J.  Barton  of  the  University 
of  Illinois.  It  is  published  by  the  Bureau  of  Educational 
Research  in  accord  with  its  general  policy  of  giving 
through  its  publications  helpful  information  and  sug- 
gestions to  teachers  and  school  administrators.  It 
should,  however,  be  understood  that  this  circular  does 
not  represent  the  work  of  the  Bureau  of  Educational 
Research  and  full  credit  for  its  preparation  should  be 
given  to  Professor  Barton  and  the  individual  authors 
mentioned. 

Walter  S.  Monroe,  Director. 
Bureau  of  Educational  Research. 
October  5,  1925. 


fHE  IIBHARY  OF  m 

JAN  2  6  1926 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

University  of  Illinois  Urbana-Champaign 


http://www.archive.org/details/appreciationofla39pres 


TABLE  OF  CONTENTS 

Page 
1.  On  Teaching  the  Aeneid  as  Literature 7 

By  Henry  W.  Prescott,  University  of  Chicago 


2.  Some  Ancient  Remains  at  Rome 18 

By  Roy  C.  Flickinger,  Northwestern  University 

3.  The  Springfield  Virgil  Exhibit 21 

By  Laura  B.  Woodruff,  Oak  Park  High  School 

4.  Books  of  Interest  to  Teachers  of  the  Classics,  Published 
1922-24 24 

By  Irene  Grafton  Whaley,  Oak  Park  High  School 

5.  Miscellaneous 28 


APPRECIATION  OF  LATIN 
ON  TEACHING  THE  AENEID  AS  LITERATURE1 

Henry  W.  Prescott 

I  do  not  intend  to  commit  myself  on  the  disputed  question  whether 
or  not  Latin  in  high  schools  is  a  cultural  or  an  exclusively  language 
study.  A  crowded  curriculum,  the  pressure  of  college  requirements, 
may  well  limit  the  aims  of  the  teacher  of  Latin.  It  may  well  be,  under 
present  conditions,  that  teachers  wisely  confine  themselves  primarily 
to"  the  teaching  of  Latin  as  a  foreign  language,  with  an  eye  to  such 
values  as  indubitably  result  from  the  learning  of  this  ancient  tongue. 

It  is  in  no  small  measure,  perhaps,  true  that  our  young  Americans 
are  too  callow  to  appreciate  the  Aeneid  as  literature  and  to  digest  the 
cultural  contribution  of  a  poem  that,   as  the  national  epic,  inevitably 
illustrates  valuable  principles  of  literary  art  and  presents  ideas  represent- 
ative of  the  civilization  of  ancient  times,  which  through  comparison  and 
contrast  may  help  to  develop  in  American  youth  an  intelligent  and  sym- 
pathetic   attitude    toward    the    problems    of   their    modern    life.      My 
standpoint  is  simply  this:  if  you  do  wish  to  teach  the  Aeneid  as  literature 
and  if  you  do  choose  to  regard  the  form  and  content  of  the  poem  as 
worthy  of  attention,  and  not  merely  the  language  in  which  it  is  writ- 
ten, what  are  the  Roman  ideas   and  the  distinctive  qualities   of  Vir- 
gil's art  which  you  may  safely  undertake  to  communicate  to  your  stu- 
dents, and  how  may  they  best  be  suggested?    For  I  suspect,  under  the 
somewhat    unfortunate    conditions     which    have    arisen    during    the 
last  half  century  in  this  country,  the  conditions  particularly  of  college 
instruction  as  well  as  of  earlier  training,  that  many  a  Latin  teacher,  if 
she  is  ever  asked  to  lessen  her  emphasis  on  the  subjunctive  and  the 
dative  case,  and  to  teach  the  poem  to  some  extent  as  a  work  of  art  and 
an  expression  of  the  national  thought  and  the  national  achievement, 
finds  her  store  of  pedagogical  thunder  completely  stolen  away  from  her 
and  too  often,  in  an  endeavor  to  teach  what  she  herself  has  not  learned 
to  know  and  appreciate,  resorts  to  superficial  impressionism  which  any 
keen  young  American  is  quick  to  recognize  as  mere  twaddle  and  un- 
worthy of  his  serious  attention. 

*A  paper  read  at  the  Illinois  State  Teachers'  Conference  at  Urbana  in  November,    1924. 

[7] 


The  limitation  of  high-school  reading  to  the  first  six  books  pre- 
vents  any  consideration  of  the   poem  as   a  whole,  though  if  students 
could  be' stimulated  to  read  the  last  six  books  in  such  a  respectable 
verse  translation  as  that  of  T.  C.  Williams,  it  would  be  an  easy  matter 
to  set  the  poem  as  a  whole  in  its  proper  relation  to  the  time;.  ;in  which 
it  was  written.    But  even  if  the  pabulum  must  be  restricted  to  half  the 
poem,  this  matter  of  the  general  setting  of  the  poem  in  its  social  and 
political  environment  seems  to  me  essential  to  any  understanding  of 
its  real  values.   Even  if  students  have  no  knowledge  of  Roman  history, 
the  analogies  of  post-bellum  conditions  in  Europe  today  should  be  easily 
available  to  help  them  toward   an   appreciation   of  the  circumstances 
under  which  the  Aeneid  was  composed.   A  century  of  social  demoraliza- 
tion preceded  it.   A  long  period  of  civil  war  had  decimated  the  popula- 
tion of  Italy.    If  you  need  to  give  the  picture  briefly  and  effectively, 
the  sixth  of' Horace's  Roman  odes  will  vividly  depict  to  your  students 
the  total  collapse  of  religious  feeling,  the  neglect  of  established  worship 
and  ritual,  the  scandalous  social  conditions  which  disrupted  the  family 
life,  and  the  devastating  effects  of  long  continued  wars.    Out  of  this 
chaos  a  sagacious  statesman,  Octavian,  seeks  to  bring  order  by  wisely 
conceived  and  executed  measures  aimed  to  secure  the  Roman  empire 
against  threatened  downfall.    The  older  generation  is   gone  or  feebly 
tottering.    The  young  men  and  maidens  must  be  revitalized.    And  the 
policy  o&f  Augustus  rests  on  the  fundamental  idea  that  to  regenerate  the 
present  vou  must  recall  the  young  people  to  the  ideals  of  the  glorious 
past,  you  must  revive  the  memory  of  the  exemplary  heroes  of  the  Re- 
public  and   earlier,   you   must   restore   the    institutions    of   Republican 
Rome,  a  policy  interestingly  illustrative  of  the  conservatism  that  per- 
vades'classical' antiquity.    So  he  reorganizes  ancient  cults  and  religious 
brotherhoods,  rebuilds  temples,  dignifies  in  every  way  the  old  estab- 
lished   rites    and    deities,    endeavors    ultimately    to    reform    social    life 
by  purifying  it  of  its  demoralizing  features,  restocks  patrician  and  ple- 
beian families,  and  anticipates  Roosevelt  in  rewarding  fathers  of  large 
families  and  imposing  pains  and  penalties  upon  recalcitrant  bachelors. 
Octavian,  like  our  modern  statesmen,  knew  the  value  of  publicity. 
The  word  propaganda  is  of  Christian  origin,  but  the  first  emperor  of 
pagan  Rome  knew  the  value  of  pushing  his  ideas  not  only  through  his 
own  utterances  and  his  own  legislative  measures  but  through  the  pub- 
lished expressions  of  other  people.   There  were  no  newspapers  but  there 
was  a  reading  and  listening  public.    And  that  public,  at  least  the  more 


[8] 


intelligent  part  of  it,  heard  and  read  the  works  of  the  literary  artists 
of  the  day.  Taking  a  leaf  perhaps  from  the  book  of  the  Ptolemies  in 
Egypt,  Octavian  gathered  about  him  these  literary  men  of  the  day,  im- 
pregnated them  with  his  ideas,  and  the  result  is  that  Horace's  Roman 
Odes,  Livy's  History,  and  Virgil's  Aeneid  illustrate  the  dominant 
thought  in  Octavian's  policy  and  manifestly  further  the  intention  of  this 
statesman  to  save  the  Roman  world,  if  not  for  democracy,  at  least  for 
a  strongly  reinvigorated  empire.  The  spirit  of  this  great  movement  is 
best  expressed  in  the  words  of  Livy's  preface  when  he  describes  him- 
self as  shrinking  from  the  sight  of  the  evils  that  surround  him  in  his  own 
day  and  seeking  refuge  in  the  splendid  achievements  of  her  glorious 
past.  His  reader,  he  says,  shall  learn  to  know  the  men  and  the  means 
that  won  for  Rome  her  world  power,  and  how  she  has  fallen  upon  the 
present  evil  times  when  we  have  not  the  strength  to  bear  either  our  vices 
or  the  remedies  that  they  require.  It  was  this  same  spirit  and  motive  that 
prompted  Virgil  to  celebrate  the  earliest  chapter  of  Roman  achievement, 
and  your  students  must  be  helped  to  see  the  critical  emergency,  to  ap- 
preciate the  earnest  moral  and  patriotic  purpose  that  lies  back  of  this 
national  epic.  The  poem  conforms  to  the  ancient  notion  that  poetry 
should  teach  as  well  as  delight.  And  even  a  reckless  American  young- 
ster, a  carefree  flapper,  will  respond  to  the  moral  and  patriotic  uplift 
of  the  poem  if  you  will  put  him  in  sympathy  with  the  conditions  of  the 
•environment  out  of  which  it  came. 

But  you  need  not  leave  the  impression  that  the  Aeneid  is  a  moral 
and  religious  tract.  It  marks  the  highest  stage  of  development  in  epic 
narrative  attained  in  classical  antiquity.  Your  students  are  immature 
and  probably  as  yet  untutored  in  the  various  ways  and  means  of  ob- 
taining desirable  effects  through  artistic  literary  expression.  But  if  Eng- 
lish literature  is  being  properly  taught  in  the  high  school,  they  should 
have  some  points  of  contact  by  which  you  may  arouse  appreciation  of 
the  poem  as  literature.  I  suspect  that  no  English  epic  forms  a  part 
of  the  high-school  curriculum,  but  plays  and  short  stories  at  least  are 
the  stock  of  the  English  course  that  parallels  the  course  in  Latin. 
And  the  Aeneid  is  nothing  but  a  story  very  conspicuously  dramatized 
both  in  its  smaller  chapters  and  scenes,  and  as  a  whole.  It  is  the  first 
dramatic  epic  in  classical  literature  and  perhaps  the  only  one.  And  the 
points  of  departure  which  the  teacher  of  the  Merchant  of  Venice  is,  or 
should  be,  using  in  the  classroom  in  English  literature  are  available  for 
you.    I  cannot,  of  course,  in  a  brief  half-hour  suggest  concretely  the 

[9] 


possibilities  in  the  whole  poem  or  in  any  considerable  part  of  it,  but 
may  I  sketchily  indicate  what  might  be  communicated  to  your  stu- 
dents, if  the  second  book  of  the  Aeneid  were  the  material  under  dis- 
cussion? 

The  simplest  way  of  understanding  Virgil's  art  is  by  putting  one's 
self  in  his  place  and  visualizing  his  difficulties  and  estimating  his  success 
in  surmounting  them.  The  story  of  the  Fall  of  Troy  is  new  to  the  high- 
school  student  unless  he  is  reading  Homeric  Greek,  and  the  second 
Aeneid  does  not  coincide  with  the  plot  of  the  Iliad.  But  in  Virgil's  time 
this  narrative  was  the  oldest  and  tritest  of  all  literary  themes.  For 
eight  centuries  or  more  the  various  chapters  of  it  had  been  handled 
and  retouched  by  sculptors,  vase-painters,  poets,  and  histori'ans.  Yet 
Virgil  must  include  it  in  his  narrative,  for  a  main  purpose  of  his  epic 
is  to  sanctify  the  religion  of  his  own  time  which  was  falling  into  neglect, 
to  dignify  it  by  impressing  upon  his  readers  the  venerable  antiquity 
of  their  religious  tradition.  The  gods  of  Rome  are  the  gods  of  Troy,  and 
the  Roman  reader  must  know  how  they  came  to  travel  from  a  remote 
corner  of  Asia  Minor  to  Italy.  In  the  second  place,  this  well-worn  theme 
through  all  the  centuries  since  Homer  had  been  treated  almost  exclu- 
sively by  Greek  artists.  In  the  story  of  Troy's  fall  the  Greeks  were 
victors,  the  Trojans  were  the  vanquished  party.  Such  Greek  artists  in 
narrating  the  tale  had  used  it  naturally  to  exalt  and  exploit  the  achieve- 
ments of  their  Greek  forbears.  But  Virgil  is  forced  by  circumstances 
to  make  the  same  story  the  first  chapter  in  the  biography  of  a  Trojan 
whom  his  fellow  Romans  for  over  two  centuries  have  officially  recog- 
nized as  the  progenitor  of  the  Roman  people.  Aeneas  is  the  hero  of  the 
epic,  but  a  canonized  story  of  the  fall  of  Troy  from  which  not  even 
a  Roman  poet  may  deviate  in  any  essential  particulars  has  stereotyped 
this  hero  as  one  of  the  vanquished  Trojans  in  this  age-old  epic  story.  It 
is  no  easy  matter,  therefore,  in  presenting  this  chapter  of  a  patriotic 
national  epic  to  redeem  these  progenitors  of  the  Romans  from  the  ap- 
parent disgrace  of  being  disastrously  outwitted  by  the  Greeks.  And  the 
difficulty  is  enhanced  by  the  fact  that  the  Roman  readers  themselves 
are  conscious  of  their  own  later  conquest  of  the  western  world  and,  as 
military  heroes,  will  not  relish  the  historical  truth  that  their  ancestors 
were  beaten  at  Troy,  their  mother  city  demolished,  and  their  lineal  fore- 
father, Aeneas,  forced  to  abandon  his  native  city,  a  condition  which  is 
more  abhorrent  to  the  ancient  Roman  than  the  expatriation  of  an  Amer- 
ican today  to  any  of  the  countries  of  Europe. 

[10] 


The  simple  devices  by  which  Virgil  surmounts  his  difficulties  and 
prevents  his  Roman  audience  from  feeling  that- Aeneas  and  the  Trojans 
are  unworthy  to  be  ancestors  of  the  Roman  people,  are  two  in  number. 
Primarily  he  represents  the  fall  of  Troy  as  the  work  of  Fate  and  of  the 
Gods,  not  as  an  achievement  of  superior  Greeks;  and  secondarily, 
he  never  loses  an  opportunity  to  defame  the  character  of  the  Greeks — 
they  are  not  brave  and  resourceful  heroes,  as  Greek  stories  have  made 
them  out  to  be,  they  are  rascals,  sly,  cunning  fellows,  unscrupulous, 
and  sharply  contrasted  with  the  honest,  straightforward  Trojans.  These 
two  devices  are  employed  through  chapters  of  action  and  through  inci- 
dental comment.  The  scene  in  which  Hector's  apparition  appears 
strikes  the  keynote  of  divine  intervention,  of  fate  and  God's  will  as  de- 
termining the  issue;  the  panorama  of  the  gods  lighting  against  Troy 
later  settles  the  vacillation  of  Aeneas  who  earlier,  as  a  human  being, 
is  disposed  to  resist  divine  sanctions  and  to  do  his  best  to  save  the  day. 
Incidentally  a  real  cause  of  the  disaster  is  summarized  in  the  paragraph 
in  the  poet's  own  words  which  concludes  Sinon's  speech:  "Thus  Sinon's 
guile  and  practised  perjury  our  doubt  dispelled.  His  stratagems  and 
tears  wrought  victory  where  neither  Tydeus'  son  nor  mountain-bred 
Achilles  could  prevail,  nor  ten  years'  war  nor  fleets  a  thousand  strong." 
And  when  the  serpents  that  strangle  Laocoon  disappear  into  the  shrine 
of  Minerva,  the  Roman  reader  sees,  what  escaped  the  Trojans,  that  the 
gods  are  directing  the  action,  and  the  Greeks  are  divine  instruments 
rather  than  superior  foes.  Neatly,  too,  in  the  Creusa  scene  at  the  end 
of  the  book,  Aeneas  is  driven  by  events  to  seek  Troy  once  more  and  in 
this  final  visit  finds  it  a  heap  of  smoking  ruins,  which  he  may  leave 
without  disgracing  his  Roman  readers  and  descendants  and  without 
seriously  smirching  the  annals  of  Roman  heroism. 

The  high-school  student  is  engaged  in  writing  in  his  own  language 
themes,  essays,  and  what-not  which  are  imposed  upon  him  that  he 
may  learn  the  ways  of  effective  expression,  the  organization  of  narra- 
tive and  exposition,  the  development  of  consecutive  thought  from  sen- 
tence to  sentence,  from  paragraph  to  paragraph.  He  is  also,  if  rightly 
taught,  not  unfamiliar  with  the  simple  principles  of  dramatic  composi- 
tion, its  rising  and  falling  action,  the  dramatic  climax,  the  uses  of  sus- 
pense, of  retarding  obstacles  in  the  development  of  the  plot  structure. 
Such  a  student  should  be  able  to  apperceive  the  corresponding  things 
in  the  Aeneid. 


[11] 


The  Aeneid  as  a  whole,  the  individual  books,  most  of  them,  and  al- 
most all  of  the  significant  scenes  within  the  individual  books  are  con- 
structed on  dramatic  principles.  This  is  Virgil's  contribution  to  the  de- 
velopment of  epic  poetry.  Homeric  epic  and  later  narrative  poetry 
usually  run  on  the  dead  level.  The  two  spies  in  the  tenth  Iliad  start, 
continue,  and  finish  their  adventure  in  search  of  information  and  spoils 
without  any  obstacle  to  their  success.  Almost  no  chapter  of  action 
in  Virgil  advances  without  the  intrusion  of  obstacles  and  retarding  ef- 
fects, without  rising  and  falling  action,  and  the  appropriate  development 
toward  a  climax. 

The  second  book  of  the  Aeneid  as  a  whole  does  not  illustrate  dra- 
matic structure  so  well  as  some  other  books,  but  it  is  within  limits 
a  dramatic  unit.  The  climax  is  not  a  genuine  dramatic  climax  but  a 
pathetic  and  picturesque  climax,  and  it  has  a  critical  effect  upon  Aeneas. 
This  climax  is  the  death  of  Priam.  If  he  were  a  sturdy  hero,  instead 
of  a  feeble  and  tottering  old  man,  this  climax  would  be  dramatic.  If  it 
were  a  Hector,  for  example,  then  his  death  would  be  coincident  with 
the  fall  of  Troy,  and  the  climax  would  be  dramatic.  But  it  is  enough 
for  our  purposes  to  say  that  Priam's  death  marks  an  important  turn 
in  the  action,  to  which  preceding  events  progress  and  from  which  sub- 
sequent events  issue,  and  at  this  stage  the  highest  point  in  the  action  has 
been  reached.  Aeneas,  warned  by  Hector's  apparition,  ought  not  to  op- 
pose the  Greeks,  but  as  a  human  being  and  a  hero,  in  spite  of  this  rev- 
elation of  divine  will  from  such  an  authoritative  source,  he  is  rashly 
led  to  resist.  The  stratagem  of  Coroebus  bids  fair  to  succeed,  but  ends 
in  a  tragic  failure.  Aeneas  presses  on  to  the  citadel,  sees  the  last  re- 
sistance of  his  countrymen,  and  witnessing  Priam's  death,  is  reminded 
of  his  own  aged  father  and  the  necessity  of  saving  him  and  carrying 
out  Hector's  injunction  to  save  his  country's  gods.  At  this  point,  then, 
he  gives  up  his  opposition  to  divine  decree,  and,  only  momentarily 
stopped  by  the  desire  to  punish  Helen,  reaches  his  home  and,  after  the 
usual  dramatic  scene,  starts  off  with  his  family  and  gods. 

But  falling  short  of  the  absolutely  dramatic  as  the  second  book 
may,  it  is  fairly  crammed  with  short  scenes  in  which  Virgil  never  fails 
to  show  his  keen  sense  of  the  value  of  dramatic  structure.  The  Laocoon 
scenes  in  their  present  arrangement  are  perhaps  due  to  Virgil's  own 
creative  genius  although  the  material  itself  is  wholly  Greek.  The  dis- 
covery of  a  huge  wooden  horse  draws  an  eager  crowd  of  Trojans  out- 
side the  walls  to  view  it  and  to  speculate  as  to  the  proper  disposal  of 

[12] 


it.    This  company  falls  at  once  into  opposing  groups.    Just  when  the 
quarrel  is  at  its  highest  point,  Laocoon  comes  striding  down  and  force- 
fully expresses   his  view  against  moving  the  horse  into  the  city.    No 
sooner  has  he  turned  the  scales  in  that  direction  than  Sinon  appears 
as  an  opposing  force  to  reverse  the  effect  of  Laocoon's  advice,  and  the 
serpents  emerge  after  the  speech  to  clinch  the  effect  and  demonstrate 
that  Laocoon  is  not  a  trustworthy  guide.   If  you  wish  to  see  what  Virgil 
has  accomplished  by  this  arrangement  of  these  four  little  chapters  of 
action,  just  change  the  order  of  the  four  chapters,  and  let  the  serpents 
strangle  Laocoon  before  Sinon's  speech,  or,  if  you  will,  eliminate  Sinon's 
speech,  and  then  see  for  yourselves  what  is  lost  in  power  and  dramatic 
force.  Or  let  us  look  at  the  Coroebus  scene:  Androgeus  mistakes  Aeneas 
and  his  comrades  for  Greeks,  and  in  the  confusion  pays  the  penalty  for 
his  error.  This  suggests  to  Coroebus,  the  ill-fated  lover  of  Cassandra,  a 
ruse  de  guerre.   Why  not  put  on  the  armor  of  the  slaughtered  Greeks 
and,  thus  disguised,  work  havoc  among  their  foes?    The  trick  bids  fair 
to   succeed   but   just   when   it   is    most   successful,   Ajax   rushes    past, 
dragging  Cassandra  by  the  hair;  the  boy-lover,  desperate  for  his  sweet- 
heart's sake,  forgets  his  stratagem,  rushes  to  her  aid,  betrays  the  mas- 
querade to  the  Greeks,  and  is  slain.   And  the  irony  lies  in  the  fact  that 
now  the  Trojans,  disguised  in  Greek  armor,  are  mistaken  for  Greeks 
by  their  own  countrymen.   Obviously  all  of  this  is  a  tragedy  in  embryo, 
quite  futile  in  effect  but  for  that  sudden  emergence  of  Ajax  and  Cassan- 
dra at  a  dramatic  moment.    No  less  perfect  is  the  closely  woven  suc- 
cession of  incidents  at  Priam's  palace.  The  women  of  the  family  tumul- 
tuously  seek  the  altar  as  the  Greek  conqueror  beats  down  the  doors. 
Priam  insists  on  donning  his  armor,  feeble  old  man  as  he  is.  His  women 
folk  rebuke  him  and  urge  him  to  join  them  in  the  sanctity  of  the  altar; 
at  this  moment  Polites,  closely  followed  by  Neoptolemus,  falls  mortally 
wounded  at  his  aged  father's  feet;  the  father  loudly  upbraids  the  cruel 
Greek;  the  Greek  drags  him  to  the  altar  and  plunges  his  sword  into  him 
with  taunting  words — a  half  dozen  effective  short  chapters,  each  leading 
into  the  next  and  issuing  from  the  preceding,  a  perfect  causal  unity, 
and  all  so  arranged  to  bring  out  to  the*  full  the  advantage  of  progres- 
sively rising  action,  as  well  as  the  pathetic  force  of  the  incidental  detail. 
Again,  in  the  final  scene  of  the  book,  when  prospective  love-affairs  with 
Dido  and  Lavinia  make  it  necessary  to  remove  Creusa  from  the  future 
action  of  the  poem,  we  may  see  the  unerring  skill  of  a  dramatist  rather 
than  of  an  epic  poet.   Creusa  had  to  disappear.  Why  should  she  not  dis- 

[13] 


appear   before   Aeneas's    eyes,   deliver   her   prophecy   on    her   way   to 
Heaven,  and  save  Aeneas  the  trip  back  to  Troy  in  search  of  her?    Ob- 
viously because  we  should  lose  all  the  elements  of  suspense  gained  by 
the  chosen  arrangement.    She  falls   behind  the  wayfarers,  her  loss   is 
discovered,  the  husband's  devotion  is  manifested  by  his  search  for  her, 
the  reader's  suspense  is  aroused  by  the  uncertainty,  and  the  return  trip 
to  Troy  convinces  the  Roman  audience  that  the  city  is  hopelessly  lost- 
all  this  is  gained  by  the  simple  device  of  not  letting  Aeneas  see   his 
wife  join  the  retinue  of  the  mother  of  the  gods.   And  finally,  the  master- 
piece of  the  book,  the  scene  at  the  house  of  Anchises.   It  belongs  on  the 
stage,  on  the  ancient  stage,  for  there  is  a  chorus  of  servants  in  the  back- 
ground; in  the  foreground  are  Aeneas  and  Anchises,  with  Creusa  and 
her  infant  intervening  for  a  moment.   Aeneas  appears,  calmly  assuming 
that  his  father  will  immediately  accompany  him  to  a  place  of  safety. 
But  Anchises  has  valid  objections.  Aeneas  in  despair  starts  back  to  the 
city.    Creusa  interposes,  reminding  him  of  his  obligations  to  wife  and 
child.    At  the  critical  moment  of  decision  comes  the  sign  from  Heaven 
and  its  interpretation  favorable  to  Aeneas's  request.    If  there  were  no 
obstacles,  if  Anchises  immediately  assented  to  Aeneas's  proposal,  how 
different  and  how  weak  the  scene  would  be!   As  it  stands,  we  must  vis- 
ualize it  in  the  setting  of  the  theatre  to  get  its  full  effect. 

Now  many  may  object  that  the  youthful  American  cares  little 
about  these  elementary  devices  of  narrative  and  dramatic  art.  In  part 
I  agree  with  such  an  objection,  but  I  cannot  escape  the  observation  of 
my  own  eyes  and  ears  that  these  young  Americans  are  weekly  attend- 
ing the  movies,  that  many  of  them  are  spending  leisure  time  in  the 
reading  of  contemporary  novels.  It  is  reasonable  to  suppose  that  they 
may  be  lured  into  an  appreciation  of  these  ways  and  means  in  litera- 
ture of  securing  desirable  effects,  that  they  may  profit  by  learning  some 
of  these  simple  devices,  becoming  more  critically  appreciative  of  the 
plays  they  see  and  the  stories  they  read,  and  perhaps,  if  they  are  pros- 
pective artists  themselves,  getting  some  insight  into  the  accepted 
methods  of  convincing  and  moving  their  audience.  Another  objection 
may  well  be  that  these  matters  of  craftsmanship  are  by  no  means  the 
highest  manifestation  of  literary  art.  To  this  objection  also  I  agree. 
But  those  higher  manifestations  are  more  elusive,  less  concrete  and 
tangible.  Poetic  diction  in  Latin  poetry  is  hardly  appreciable  by  stu- 
dents of  high-school  age.  Poetic  imagery  is  often  within  the  range  of  the 
student's  comprehension,  but  does  not  fall  within  the  possibility  of  easy 

[14] 


treatment  in  this  discourse.  Virgil's  appeal  to  the  emotions  is  every- 
where patent,  •' in  the  pathos  of  the  Coroebus  scene,  in  the  details  of 
Hector's  grewsome  appearance,  in  the  pitiful  circumstances  of  Priam's 
death.  But  aside  from  a  few  things  of  this  sort,  most  of  the  means 
by  which  a  great  poet  moves  his  readers  are  incommunicable.  It  is  these 
elusive  things  that  lead  many  to  say,  rightly  enough,  that  literature 
cannot  be  taught.  But  in  these  simple  phases  of  structure,  and  also  of 
character  treatment,  into  which  I  must  not  go,  the  immature  student 
may  find  something  tangible.  These  matters  are  the  grammar  of  liter- 
ary art,  and  American  students  seem  to  have  a  zest  for  grammar,  and 
through  learning  the  grammar,  they  may  rise  to  an  appreciative  consid- 
eration of  the  less  concrete  features  of  style,  the  more  elusive  play  of 
the  poet's  fancy  and  imagination.  At  the  very  worst,  a  knowledge  of 
such  matters  by  the  teacher  will  save  the  classroom  from  the  critical 
bromides:  "This  narrative  is  interesting,"  or  "This  description  is 
pretty." 

I  have  left  myself  little  time  to  comment  on  the  second  of  my  topics, 
the  contribution  in  the  second  book  to  our  appreciation  of  Roman  cul- 
ture. This  is  a  Greek  rather  than  a  Roman  book.  To  be  sure,  it  has  Ro- 
man elements,  particularly  in  the  realm  of  religious  thought  and  prac- 
tice. The  auspicium  is  a  national  Roman  institution,  and  the  skill  with 
which  Virgil  reproduces  faithfully  the  detail  of  ritualistic  procedure,  so 
dear  to  the  Roman,  without  deviating  one  jot  from  the  kind  of  incident 
and  action  natural  in  the  circumstances  of  the  scene  itself  in  the  house 
of  Anchises  is  one  of  the  happiest  illustrations  of  his  literary  skill,  as 
well  as  of  the  sanctity  of  the  religious  procedure  itself.  The  whole  book 
is  fundamentally  an  expression  of  the  unbroken  continuity  of  Roman 
religion,  and  the  poet's  great  purpose  is  to  increase  the  veneration  of 
his  contemporaries,  their  respect  for  the  established  religious  order  of 
the  state;  it  was  the  continuity  of  their  religious  history  that  insured  the 
permanence  of  their  empire,  as  the  Sibylline  oracles  had  persuaded 
them,  and  they  found  here  the  ultimate  background  of  their  faith  and 
of  their  religious  observances.  But  rather  than  dwell  upon  these  com- 
monplaces, I  wish  briefly  to  suggest  how  rich  is  the  content  of  the  scene 
in  the  house  of  Anchises  for  one  who  wishes  to  comprehend  the  most 
essential  features  of  ancient  civilization.  The  political  unit  in  ancient 
history  is  the  city  state.  The  individual  members  of  the  family,  the 
families  bound  together  in  larger  units,  the  whole  organized  with  com- 
mon privileges  and  duties  into  the  greater  corporation  of  the  state,  all 

[15] 


this  constitutes  a  thoroughly  welded  social  and  political  body  quite 
different  from  our  modern  organization.  The  virtues,  the  moral 
obligations,  which  are  the  main  springs  of  action  in  this  scene  and 
throughout  the  poem,  though  in  many  respects  modern,  are  fully  un- 
derstood only  as  the  issue  from  the  conception  of  the  body  politic  which 
this  scene  at  the  house  of  Anchises  dramatizes  into  actual  and  real  sac- 
rifice of  the  individual  to  the  interests  of  the  family  and  of  the  state. 
Paramount  in  the  action  is  the  hero's  devotion  to  his  father  as  the  head 
of  the  family,  thoroughly  Roman  in  the  emphatic  form  in  which  this 
scene  presents  it.  And  both  the  patriotic  and  religious  service  of  Aeneas 
in  rescuing  his  gods  and  perpetuating  his  national  religion  in  a  new 
country  is  peculiar  to  the  ancient  conception  of  society  in  so  far  as  such 
religious  service  is  prompted  by  the  individual's  sacrifice  of  personal 
interests  to  the  demands  of  the  great  corporation  of  which  he  is  but  an 
infinitesimal  part.  Of  course  Virgil's  portrayal  of  a  social  concept  is 
more  or  less  accidental.  The  reader  is  impressed  not  by  any  theory  of 
government  that  may  underlie  the  scene  but  by  the  simple  and  natural 
compliance  of  the  hero  with  duties  and  obligations  that  are  pervasively 
human.  As  dutiful  son,  father,  and  husband,  Aeneas  is  revealed  for  the 
first  time  and  stirred  the  admiration  of  Dido  and  of  the  Roman  reader. 
But  nevertheless,  if  you  are  looking  forward  as  you  should  to  the  dif- 
ficulty of  the  American  student,  bred  to  Christian  chivalry,  when  he 
finds  Aeneas  abandoning  Dido  in  the  fourth  book,  this  scene  offers  you 
your  opportunity  to  make  clear  to  such  a  student  early  in  his  reading 
the  great  differences  between  ancient  and  modern  life.  The  individual 
is  a  cog  in  the  machine.  The  state,  the  national  religion,  is  uppermost. 
A  sentimental  adventure  is  only  a  distracting  incident  in  the  career 
of  a  member  of  such  a  compact  social  unit. 

Clearly,  you  are  more  competent  than  I  to  say  how  these  mat- 
ters may  and  should  be  presented  to  your  students.  They  need  not 
consume  very  much  time.  My  advice  can  only  be  negative.  Never  lec- 
ture to  them.  Seldom,  if  ever,  present  such  facts  before  they  have  read 
and  understood  the  Latin  of  the  scene  or  book.  Most  of  such  material, 
I  suspect,  belongs  in  review  work,,  when  they  have  grasped  the  unity 
of  the  book,  the  content  of  the  scene.  And  finally,  although  some  casual 
question  or  illuminating  comment  along  such  lines  may  always  be  avail- 
able to  relieve  the  tedium  of  grammatical  drill,  in  general  endeavor  to 
keep  such  matters  distinct  from  the  grammatical  routine  and  help  your 
student  to  feel  that  you  are  opening  to  him  something  better  and  finer 

[16] 


than  gerund  grinding.    Yet  I  must  hasten  to  add  that  there  is  no  finer 
attainment  than  the  sympathetic  knowledge  of  the  Latin  tongue. 

May  I  repeat  in  closing  that  I  am  not  insisting  on  these  things, 
least  of  all  maintaining  that  they  are  indubitably  feasible  in  your 
classrooms.  You  have  in  the  Aeneid  the  finest  flower  of  Latin  litera- 
ture, and  an  epitome  of  Latin  civilization.  You  high-school  teachers 
pick  this  flower  so  that  we  college  teachers,  if  we  ever  try  to  make  it 
attractive  in  college,  are  offering  a  blossom  that  has  often  faded  and 
withered  in  the  high-school  classroom.  I  envy  you  your  opportunity 
to  present  to  American  young  people,  when  they  are  plastic,  open- 
minded,  receptive  of  ideas,  the  finest  achievement  of  Latin  literature 
and  the  most  nearly  complete  expression  of  national  ideals. 


[17] 


SOME  ANCIENT  REMAINS  AT  ROME 

Roy  C.  Flickinger 

Where  ancient  remains  survive  in  such  quantities  and  are  to  be 
found  on  every  hand,  it  may  seem  invidious  to  select  a  few  for  comment. 
Yet  there  were  two  or  three  which  for  some  reason  made  a  special 
appeal  to  me.  For  one  thing  they  have  been  less  commonly  reproduced 
in  our  textbooks  and  so  are  less  well-known  to  most  of  us  than  are  the 
more  pretentious  and  more  important  monuments. 


Fig.  1.   Ponte  Fabricio 

The  first  of  these  is  the  Ponte  Fabricio  (Fig.  1),  which  was  built 
in  62  B.  C.  and  is  the  oldest  bridge  now  in  use  at  Rome.  It  has  been  a 
silent  spectator  of  all  Roman  history  from  the  time  of  Catiline  and 
Cicero  until  to-day,  a  period  of  almost  two  thousand  years.  What  scenes 
it  has  witnessed  and  what  a  story  it  could  tell !  It  extends  from  the  left 
(east)  bank  of  the  Tiber  to  the  island  which  lies  in  the  middle  of  the 
river  not  far  from  the  Theater  of  Marcellus    (Isola  Tiberina).    One 


[18] 


thing  which  appealed  to  me  about  this  bridge  was  the  fact  that  its 
inscription  was  cut  so  clearly  as  to  come  out  plainly  in  a  kodak  picture 
taken  from  the  shore: 

L.  FABRICIUS  C.  F.  CUR.  VIAR. 
FACIUNDUM  COERAVIT 

"L.  Fabricius,  son  of  Caius,  Commissioner  of  Roads,  superintended  the 
construction."  In  the  background  of  the  picture  may  be  seen  a  modern 
building  upon  the  island. 

A  short  distance  down  the  stream  appear  the  remains  of  an  earlier 
bridge  (Fig.  2),  the  Pons  Aemilius,  erected  in  181  B.C.  Since  1598, 
when  two  other  arches  were  swept  away  in  the  great  flood  of  that  year, 


Fig.  2.   Ponte  Rotto 


this  structure  has  been  known  as  the  Ponte  Rotto  (Latin  ruptus).  The 
island  and  part  of  the  Ponte  Fabricio  also  appear  in  the  picture.  Not 
far  away,  close  to  the  modern  Ponte  Palatino  from  which  this  snap-shot 
was  taken,  is  situated  the  mouth  of  the  famous  Cloaca  Maxima,  which 
was  built  by  the  ancients  for  the  purpose  of  draining  the  low  ground 
in  and  near  the  forum  and  still  continues  to  operate. 

Still    more   interesting   to   me,    however,   was   Vergil's    monument 
(Fig.  3),  partly  because  of  its  quaintness  and  oartly  because  it  recalls 


[19] 


the  name  of  Vergil.  Of  course,  it  is  not  "our"  Virgil,  though  a  contem- 
porary; but  the  association  of  ideas  remains,  just  the  same.  This  Vergil 
was  a  wealthy  baker,  whose  full  name  was  Marcus  Vergilius  Eurysaces. 

In  commemoration  of  his  busi- 
ness the  most  conspicuous  deco- 
rative device  upon  the  monu- 
ment is  the  grain-measure,  laid 
in  a  vertical-  row  at  the  bottom 
and  in  horizontal  rows  above, 
and  at  the  top  is  a  frieze  with 
scenes  of  grinding,  baking,  and 
so  forth.  Below  is  an  inscrip- 
tion which  gives  his  name  in 
full,  while  his  occupation  and 
the  fact  that  he  held  the  posi- 
tion of  redemptor  (public  pur- 
veyor of  bread)  are  stated  else- 
where. It  is  to  be  understood 
that  all  four  sides  are  similar, 
but  are  in  varying  states  of 
preservation.  An  arch  of  the 
Porta  Maggiore,  part  of  an 
ancient  aqueduct  which  was 
transformed  into  a  city  gate  by 
the  Emperor  Aurelian  in  the 
third  century,  appears  in  the 
Fig.  3.    Vergil's  Monument  background. 


[20] 


THE  SPRINGFIELD  VIRGIL  EXHIBIT 

Laura  B.  Woodruff 

At  the  High-School  Conference  held  November,  1924,  at  the  Uni- 
versity of  Illinois,  the  teachers  attending  the  Classics  section  were  priv- 
ileged to  see  another  of  the  unusual  exhibits  prepared  by  the  Latin 
pupils  of  the  Springfield  High  School  under  the  direction  of  Miss  Ethel 
Jean  Luke.  At  the  meeting  of  1923,  the  model  of  a  Roman  house 
attracted  the  attention  of  every  one.  In  1924,  two  models  suggested  by 
the  Aeneid  were  shown.  One  of  these  portrayed  the  entrance  to  the 
Underworld  as  described  in  the  sixth  book,  the  other  pictured  the  boat 
race  of  the  fifth  book. 

For  the  model  depicting  the  entrance  to  Orcus — vestibulum  ante 
ipsum — a  strong  box  of  corrugated  board,  about  twelve  by  twelve  by 
eighteen  inches,  was  used,  the  whole  painted  a  dead  black.  The  open 
end  was  a  bit  irregular  to  suggest  jagged  rocks,  while  very  stiff  drawing 
paper,  cut  to  simulate  stalactites,  was  pasted  at  the  top,  like  an  irreg- 
ular curtain.  Inside,  light  weight  paper,  a  bit  crumpled,  was  pasted  in 
such  a  way  that  the  effect  of  rough  stone  walls  was  produced.  This 
lining  was  black  with  weird  blue  shadows.  In  the  rear  end,  a  section 
was  cut  out,  like  a  window,  over  which  was  pasted  a  very  fascinating 
picture,  suggesting  the  delights  of  the  blissful  groves.  An  electric  light 
placed  behind  this  picture  added  to  the  effect. 

Beginning  at  the  left,  little  figures  were  arranged,  passing  around 
to  the  right  and  up  to  the  front  of  the  cavern.  These  figures  represented 
Grief,  two  Cares  lying  on  couches,  pallid  Disease,  Old  Age,  Fear,  Hun- 
ger tempting  to  crime,  hideous  Poverty,  Death  and  his  twin  brother 
Sleep,  Toil,  hurtful  Pleasures,  death-dealing  War,  Furies  in  their  iron 
cages,  and  Discord  with  snaky  locks.  All  were  made  by  drawing  the 
characters  first  on  heavy  paper,  then  tinting  them  with  water  colors  and 
cutting  them  out  and  mounting  them  as  effectively  as  possible  by  pasting 
a  heavy  narrow  support  of  drawing  paper,  like  an  easel,  on  the  back  of 
each.  The  figures  varied  in  height  from  about  five  and  a  half  inches 
for  the  standing,  to  two  and  a  half,  for  the  seated  or  crouching  forms. 
Old  Age  leaned  on  a  cane;  Grief  sat  crouched  over,  near  the  front; 
Disease  was  garbed  in  red  and  carried  a  torch;  Sleep  and  Death  were 
standing  side  by  side  at  the  left  rear;  Evil  Pleasure  was  represented 

[21] 


by  a  jovial  chap,  crowned  with  a  vine  garland  and  holding  aloft  an 
ornate  wine  cup;  War  was  resplendent  in  red  and  black,  with  gilded 
shield  and  helmet;  the  cage  of  the  Furies  was  formed  by  drawing  bars, 
painting  them  a  rusty  iron  color,  cutting  them  out,  curving  them  like  a 
slit  cylinder,  and  pasting  them  to  the  middle  of  the  right  side  of  the 
cavern;  Toil  was  stooping,  wielding  a  huge  hammer;  Discord,  with 
snaky  locks  and  clad  in  dark  red  and  brown,  was  seated  near  the  right 
front,  holding  in  one  hand  the  golden  apple;  Poverty  stood  in  rags  with 
hand  outstretched  for  alms.  The  figures  were  so  placed  that  the  view 
of  the  Elysian  fields  was  not  too  much  covered. 

The  boat  race  model  was  made  by  taking  a  good  firm  board  of  about 
fourteen  by  twenty  inches  and  placing  upon  it  at  suitable  points  wads 
of  cotton  batting  so  as  to  form  a  support  for  the  tissue  paper  that  was 
to  be  stretched  over  it  as  water,  and  also  for  a  sloping  shore-line  and 
hills  in  the  rear.  The  curved  effect  of  the  short-line  was  secured  by 
shaping  tissue  paper  and  pasting  it  lightly  at  the  water's  edge,  then 
arranging  it  as  realistically  as  possible  over  the  cotton  batting  sub- 
stratum of  sloping  ground  and  hills,  and  pasting  enough  of  the  surplus 
well  under  the  edge  of  the  board  to  make  a  neat  finish.  The  tissue 
paper  used  for  the  sea  was  treated  with  a  water-color  wash  of  proper 
cerulean  tone,  then  it  was  crumpled  up  and  partially  smoothed  out 
again.  Dabs  of  white  were  placed  on  each  little  wave,  and  shadows  of 
darker  bluish  gray  were  painted  in  after  the  boats  had  been  put  in 
position.  The  tissue  paper  which  covered  the  shore  and  hills  was  made 
a  suitable  brownish  grayish  tone  with  water-color  wash,  applied  before 
the  paper  was  put  in  place.  On  top  of  the  hills  were  the  silvae  coruscae, 
made  of  green  tissue  paper,  pasted  double  with  a  tiny  wire  in  the  center 
to  stick  into  the  ground.  A  lot  of  these  little  trees  added  greatly  to 
the  model. 

The  boats  were  made  of  drawing  paper,  cut  double  at  the  stern 
and  bowed  out  a  little.  They  were  painted  with  oars,  their  captains 
were  resplendent  in  purple  and  gold,  their  pilots  were  at  their  posts, 
and  Gyas  alone  guided  the  Chimaera,  after  having  thrown  Menoetes 
overboard.  Procul  in  pelago  was  the  saxum  spumantia  contra  litora. 
On  the  rock— a  real  one— old  Menoetes  sat  to  dry.  The  Centaur  was 
shown  with  broken  oars  on  one  side.  The  boats  were  so  placed  as  to 
represent  Cloanthus  coming  in  as  victor,  with  Portunus,  the  Nereid 
train,  and  Panopea  pushing  the  Scylla  into  its  haven.  These  little  sea 
deities  were  made  of  tissue  paper  with  opalescent  tints,  diaphanous 
little  scraps,  yet  effective. 

[22] 


Just  at  the  water's  edge  stood  a  throng  of  spectators,  tiny  figures 
cut  from  heavy  drawing  paper  and  gay  in  their  robes  of  every  hue. 
Aeneas  was  in  the  center,  holding  in  his  hand  the  palmam  pretium 
victori,  at  his  feet  a  heap  of  ostro  perfusae  vestes,  merely  suggested  by 
tiny  shapes  of  painted  tissue  paper.    Several  iuvenci  stood  meekly  by. 

The  above  description  gives  but  a  vague  impression  of  the  attrac- 
tiveness of  the  two  models  so  skillfully  wrought.  No  mere  verbal  account 
can  possibly  convey  an  adequate  conception  of  the  artistic  coloring  and 
realistic  development  of  Virgil's  pictures. 


[23] 


BOOKS  OF  INTEREST  TO  TEACHERS  OF  THE  CLASSICS, 
PUBLISHED  1922-242 

Irene  Grafton  Whaley 

TEXT  BOOKS 
First  Year: 

Jenner  and  Grant.  A  First  Year  of  Latin.   Chicago,  Illinois:    Sanborn 

and  Company. 
Ullman  and  Henry.    Elementary  Latin.    New  York:    The  Macmillan 

Company. 
Scott.    First  Latin  Lessons.    Chicago,   Illinois:     Scott,  Foresman  and 

Company. 
Elementary  Lessons  in  Latin.    St.  Louis,  Missouri:    C.  V.  Mosby  and 

Sons. 
Edwards.  Roman  Tales  Retold.  Chicago,  Illinois:  Scott,  Foresman  and 

Company. 
Reed  and  Hawes.    Julia   (A  Latin  Reading  Book).    New  York:    The 

Macmillan  Company. 

Second  Year: 

Sanford  and  Scott.   A  Junior  Latin  Reader.    Chicago,  Illinois:    Scott, 

Foresman  and  Company. 
Place.    Second  Year  Latin.    New  York:    American  Book  Company. 

Third  Year: 

Sanford,  Scott,  and  Beeson.  A  Third  Latin  Book.  Chicago,  Illinois: 
Scott,  Foresman  and  Company. 

Gleason.   A  Term  of  Ovid.   New  York:    American  Book  Company. 

Nutting.  Ad  Alpes  (Sight).  Berkeley,  California:  University  of  Cali- 
fornia. 

Fourth  Year: 

Greenough,  Kittredge,  and  Jenkins.  Virgil's  Aeneid.  Boston:  Ginn 
and  Company. 

The  Direct  Method: 

Paine  and  Main  waring.  Primus  Annus.  35  West  32nd  Street,  New 
York:    Oxford  University  Press,  American  Branch. 


2A  list  presented  at  the  University  of  Chicago  Conference  of  High-School  Teach- 
ers May  7,  1924. 

[24] 


Paine,  Main  waring,  and  Ryle.  Decern  Fabulae.  35  West  32nd  Street, 
NewYork:    Oxford  University  Press,  American  Branch. 

Oxford  Series:  (partly  in  the  original  and  partly  in  translation). 

Butler.  The  Catilinarian  Conspiracy  (from  Sallust  and  Cicero).  35 
West  32nd  Street,  New  York:  Oxford  University  Press,  Ameri- 
can Branch. 

Cookson.  Cicero,  the  Advocate  (Pro  Milone  and  Pro  Murena).  35 
West  32nd  Street,  New  York:  Oxford  University  Press,  Ameri- 
can Branch. 

Freeman  and  Bailey.  Virgil  (Aeneid  I-III).  35  West  32nd  Street, 
New  York:    Oxford  University  Press,  American  Branch. 

Alington.  Virgil  (Aeneid  IV-VI).  35  West  32nd  Street,  New  York: 
Oxford  University  Press,  American  Branch. 

For  Club  Work: 

Nutting.  Junior  Latin  Plays.  Berkeley,  California:  University  of 
California. 

Geyser.   Orator  Latinus.   Boston:    Allyn  and  Bacon. 

Weber.  Phonetic  Records.  Lakewood,  New  Jersey:  Students'  Educa- 
tional Records. 

BOOKS   OF   REFERENCE  SUITABLE  FOR  THE   USE   OF 
HIGH-SCHOOL  PUPILS 

For  Caesar  Classes: 

Wells.  With  Caesar's  Legions.  Boston:  Lothrop,  Lee  and  Shepard 
Company. 

Mitchison.  The  Conquered.  New  York:  Harcourt,  Brace  and  Com- 
pany. 

McCartney.  Warfare  on  Land  and  Sea.  (Our  Debt  to  Greece  and 
Rome  Series.)    Boston:    Marshall  Jones  Company. 

For  Cicero  Classes: 

Rolfe.  Cicero  and  His  Influence.  (Our  Debt  to  Greece  and  Rome 
Series.)    Boston:    Marshall  Jones  Company. 

Abbott.  Roman  Politics.  (Our  Debt  to  Greece  and  Rome  Series.) 
Boston:  Marshall  Jones  Company. 

Pym.  Readings  from  the  Literature  of  Ancient  Rome.  New  York: 
Harcourt,  Brace  and  Company. 

For  Virgil  Classes: 

Hammerton.  Wonders  of  the  Past.   New  York:    Putnam's  Sons. 

Bailey.  The  Legacy  of  Rome.  35  West  32nd  Street,  New  York:  Ox- 
ford University  Press,  American  Branch. 

[25] 


Boissier.   The  Country  of  Horace  and  Vergil.   Chicago,  Illinois:    G.  E. 

Stechert  and  Company. 
Pym.   Readings  from  the  Literature  of  Ancient  Rome.  New  York:  Har- 

court,  Brace  and  Company. 

General  Reference  Books: 

Smith.  Mathematics.  (Our  Debt  to  Greece  and  Rome  Series.)  Bos- 
ton:   Marshall  Jones  Company. 

Matheson.  The  Growth  of  Rome.  35  West  32nd  Street,  New  York: 
Oxford  University  Press,  American  Branch. 

Allinson.  Children  of  the  Way.  New  York:  Harcourt,  Brace  and 
Company. 

Van  Santvoord.   Octavia.   New  York:    Dutton  and  Company. 

Hamilton.  Ancient  Rome,  The  Lives  of  Great  Men.  35  West  32nd 
Street,  New  York:  Oxford  University  Press,  American  Branch. 

BOOKS  SUITABLE   MAINLY  FOR  THE  USE  OF  TEACHERS 

Frank.   Vergil — A  Biography.   New  York:    Holt  and  Company. 

DeWitt.  Vergil's  Biographia  Litteraria.  35  West  32nd  Street,  New 
York:    Oxford  University  Press,  American  Branch. 

Billson.  Translation  of  the  Aeneid  into  English  Verse.  35  West  32nd 
Street,  New  York:    Oxford  University  Press,  American  Branch. 

Mackail.  Virgil  and  His  Meaning  to  the  World  of  To-day.  (Our  Debt 
to  Greece  and  Rome  Series.)    Boston:    Marshall  Jones  Company. 

Showerman.  Horace  and  His  Influence.  (Our  Debt  to  Greece  and 
Rome  Series.)    Boston:   Marshall  Jones  Company. 

Harrington.  Catullus.  (Our  Debt  to  Greece  and  Rome  Series.)  Bos- 
ton:   Marshall  Jones  Company. 

Gummere.  Seneca  the  Philosopher.  (Our  Debt  to  Greece  and  Rome 
Series.)    Boston:    Marshall  Jones  Company. 

Lucas.  Language  and  Philology.  (Our  Debt  to  Greece  and  Rome 
Series.)    Boston:    Marshall  Jones  Company. 

Sikes.   Roman  Poetry.  New  York:    Dutton  and  Company. 

Hadley.   Rome  and  the  World  Today.   New  York:    Putnam's  Sons. 

Bailey.  The  Legacy  of  Rome.  35  West  32nd  Street,  New  York:  Ox- 
ford University  Press,  American  Branch. 

Haight.    Italy  Old  and  New.   New  York:    Dutton  and  Company. 

Sabin.  Classical  Associations  of  Places  in  Italy.  435  West  119th  Street, 
New  York. 

Rouse.  Chanties  in  Greek  and  Latin.  35  West  32nd  Street,  New  York: 
Oxford  University  Press,  American  Branch. 

[26] 


Rogers  and  Harley.  Roman  Home  Life  and  Religion.  35  West  32nd 
Street,  New  York:    Oxford  University  Press,  American  Branch. 

Frank.   History  of  Rome.   New  York:    Holt  and  Company. 

Rice  Holmes.  The  Roman  Republic.  35  West  32nd  Street,  New  York: 
Oxford  University  Press,  American  Branch. 

Sherman.  Roman  Law  in  the  Modern  World.  New  Haven,  Connecti- 
cut:   New  Haven  Law  Book  Company. 

McKnight.  English  Words  and  Their  Backgrounds.  New  York:  Ap- 
pleton  and  Company. 

Crabbe.  English  Synonyms  Explained.  New  York:  Dutton  and  Com- 
pany. 

Faries.  Ancient.  Rome  in  the  English  Novel.  Philadelphia,  Pennsyl- 
vania: University  of  Pennsylvania. 

Nutting.  A  Teachers'  Course  in  Latin  Composition.  Boston:  Allyn 
and  Bacon. 

The  Claim  of  Antiquity  (Issued  by  the  Councils  of  the  Societies  for  the 
Promotion  of  Hellenic  and  Roman  Studies  and  of  the  Classical 
Association).  35  West  32nd  Street,  New  York:  Oxford  University 
Press,  American  Branch. 

Hadzsits  and  Harley.  A  Bibliographic  Monograph  on  the  Value  of 
the  Classics.  Philadelphia,  Pennsylvania:  University  of  Pennsyl- 
vania. 

Mackail.  The  Alliance  of  Latin  and  English  Studies.  London: 
Murray. 

Marsh.  The  Foundation  of  the  Roman  Empire.  Austin,  Texas:  Uni- 
versity of  Texas. 

BOOKS  FOR  THOSE  INTERESTED  IN  GREEK 

Botsford.  Hellenic  Civilization.  New  York:  Columbia  University 
Press. 

Hyde.   Greek  Religion.    Boston:    Marshall  Jones  Company. 

Cooper.   The  Poetics  of  Aristotle.   Boston:    Marshall  Jones  Company. 

Lucas.  Euripides  and  His  Influence.  Boston:  Marshall  Jones 
Company. 

Van  Hook.  Greek  Life  and  Thought.  New  York:  Columbia  Univer- 
sity Press. 

Greene.  The  Achievement  of  Greece.  Cambridge,  Massachusetts:  Har- 
vard University  Press. 

Taylor.  Greek  Biology  and  Medicine.  Boston:  Marshall  Jones  Com- 
pany. 

[27] 


MISCELLANEOUS 

The  following  play  was  written  by  Josephine  Arnold,  a  student  of 
the  University  of  Chicago  High  School. 

A  PLAY:  PERFIDIA  DUMNORIGIS 

Dramatis  Personae: 
Dumnorix 
Caesar 
Diviciacus 
Milites: 

Publius 

Lucius 

Marcus 

ACTA  PRIMA 

Scaena  Prima 
Publius  et  Lucius ',  turn  Marcus 

Lucius:  Sclsne  cur  frumentum  et  pabulum  ab  Haeduis  non  veniant? 
Famem  habeo  et  equi  mei  famem  habent. 

Publius:  Non  scio  sed  si  non  venient  multl  equi  morientur. 

Lucius:  Marcus  dlcit  Dumnorigem  causam  esse  cur  frumentum  et 
pabulum  non  veniant  sed  Liscus  amicus  Caesaris  est  et  ipse  est 
rex  Haeduorum. 

Publius:  Hoc  non  comprendo. 

Intrat  Marcus 

Lucius:  Sclsne  ubi  frumentum  et  pabulum  ab  Haeduis  sint  et  quare 
non  veniant? 

Marcus:  Ita.  Liscus  cognovit  et  fabulam  Caesari  locutus  est  et  Liscus 
quoque  mihi  dixit. 

Lucius:  Nobis  die,  Marce. 

Marcus:  Dumnorix,  frater  DiviciacI,  rex  esse  vult  itaque  cum  Diviciacus 
abest,  Dumnorix,  qui  multam  pecuniam  habet,  multam  potestatem 
habet.  Mult5s  equites  sub  suo  imperio  semper  habet.  Complures 
annos  portoria  licitus  est  et  nemo  contra  eum  liceri  ausus  est  propter 
suam  potestatem.  Cum  domi  turn  apud  finitimos  potestatem  habet. 
Propter  hoc  Dumnorix  Haeduos  pabulum  et  frumentum  ad 
Caesarem  non  mittere  patitur.  Et  nunc,  cum  Caesar  de  his  rebus 
cognoverit  quid  putas  ilium  facturum? 

[28] 


Publius:  Non  scio  sed  Dumnorix  punlrl  debet. 

Marcus:  Liscus   quoque   mihi   dixit    Caesarem    Diviciacum    vocare   et 

hodie  veniet  et  postquam  eum  vldit  Dumnorigem  vocabit  et  turn 

puto  frumentum  nobis  futurum  esse. 
Lucius:  Maneamus   dum   Diviciacus   a   Caesare   veniat.     Turn   omnia 

e  Lisco  audiemus. 

SCAENA    SECUNDA 

Caesar  et  Diviciacus 

Caesar:  Diviciacum  expecto  et  quod  amicus  meus  est  Dumnorigem  pun- 
Ire  non  possum. 

Intrat  Diviciacus 

Diviciacus:  Salve,  Caesar. 

Caesar:  Salve,  Diviciace.  Scls  cur  te  vocaverim.  Causa  est  frater  tuus, 
Dumnorix. 

Divic:  Scio,  Caesar,  et  abs  te  peto  ne  fratrem  meum  neces.  Frater  meus 
non  me  amat  sed  eum  amo.  Cum  adulescens  esset  eum  auxiliabar 
et  eum  clarum  feci.  Nunc  magnam  potestatem  habet,  plus  quam 
ego  et  me  perdere  conatur.  Plus  auctoritatis  apud  nos  habet  quod 
matrem  nostram  in  matrimonium  dedit  et  quoque  sororem  nostram 
in  matrimonium  dedit  sed  n5ll  el  gravior  esse. 

Caesar:  Bonus  vir  es  et  fratrem  tuum  ad  me  vocabo  et  cum  eo  loquar.   I. 

Exit  Diviciacus. 

SCAENA    TERTIA 

Caesar  et  Dumnorix  et  Miles. 
Caesar:  E  Lisco  audio  te  inimicum  nobis  esse  et  te  causam  esse  cur 

frumentum  et  pabulum  non  veniant.     Estne  verum? 
Dumnorix:  Verum  est. 
Caesar\  SI  vir  hoc  in  te  fecisset  et  tu  virum  cognovisses  quid  in  hunc 

virum  faceres? 
Dumn:  Non  scio  quod  Liscus  dux  Haeduorum  est,  non  sum. 
Caesar:  Si  tu  non  es  dux,  cur  hoc  facere  poteras? 
Du?nn:  Non  scio.    Nunc,  Caesar,  me  habes;  me  perde  si  vis. 
Caesar:  Propter  fratrem  tuum,  te  condono.     I. 

Exit  Dumnorix 
Caesar:  Miles. 

Intrat  Miles 
Miles:  Ita  Imperator. 
Caesar:  Dumnorix  in  custodiam  pone  ut  sciam  quae  agat  et  quibuscum 

loquatur. 
Miles:  Ita  Imperator. 

Exit  Miles 

[29] 


ACTA  SECUNDA 

Scaena  Prima 
Dumnorix  et  Lucius  et  Publius  . 
Lucius:  Ibi  venit  Dumnorix. 
Publius:  Ita.    Quid  vis? 
Bumn:  In  Britanniam  cum  Caesare  Ibitis? 
Lucius:  Ita,  duces  sumus. 
Bumn:  N5llte  in  Britanniam  Ire. 
Publius:  Cur? 
Bumn:  Quod  insuetl  mare  navigandl  estis  et  milites  vestrl  timorem 

habebitis,  et  quoque  quod  religionibus  impedieminl. 
Lucius:  Tu  es  Dumnorix,  vir  qui  causa  fuisti  cur  pabulum  et  frumentum 

non  receperimus  et  te  non  audimus. 
Bumn:  Caesarem  deserite  et  mecum  venite. 

Publius:  In  copils  Caesaris  sumus  et  Caesarem  amamus  et  in  Britanniam 
cum  eo  Ibimus. 

Exit  Bumnorix 

Scaena  Secunda 

Caesar  et  Bud  Milites 

Caesar:  Dumnorix  fugit.    Quod  perfidus  est  eum  consequimini  et  equi- 

tatu  eum  circumvenite  et  eum  interficite. 
Miles:  Hoc  faciemus,  Imperator. 

Exeunt  Milites 
Caesar:  Quid  dicet  Diviciacus?    Sed  non  est  mea  culpa.     Dumnorix 
non  est  similis  fratri  suo.       Diviciacus  vir  bonus  est  sed  Dumnorix 
vir  perfidus   est.     Numquam   mihi   bonum   sed   semper  damnum 
fecit. 

Scaena  Tertia 
Caesar  et  Miles 
Miles:  Dumnorix  sine  mora  circumvenimus  et  eum  interfecimus,  Im- 
perator. 

Exit  Miles 
Caesar:  Non  mihi  damnum  iterum  facere  poterit. 
"Sic  semper  tyrannls." 

Finis 

A  LATIN  PICTURE  GALLERY 

(A  Game  for  Latin  Clubs) 
Around  the  walls  of  the  room  place  newspaper  or  magazine  pictures 
or  other  devices  suggesting  Latin  words  with  which  the  pupils  are  famil- 
iar.   Number  each  picture.    Give  the  pupils  a  list  of  the  Latin  words 

[30] 


illustrated  and  ask  them  to  match  the  pictures  and  words,  placing  the 
number  of  the  picture  beside  the  word  it  suggests.  Check  results  when 
the  majority  have  finished. 

The  following  is  a  list  of  words  (with  the  pictures  and  devices  em- 
ployed to  suggest  them)  used  in  a  club  composed  of  first-year  pupils: 

patria  nostra  (a  map  of  the  U.  S.) 

praemium  (AA) 

Hberi  (a  picture  of  some  children) 

verba  (a  list  of  words) 

castra  (a  picture  of  a  camp) 

impedimenta  (an  advertisement  of  trunks  and  traveling  bags) 

deus  (Jupiter) 

agricola  (a  farmer) 

sum  (a  column  of  figures  added  up) 

annus  (a  calendar  of  any  year) 

poni  (a  pony) 

captivus  (a  bird  in  a  cage) 

copia  (a  mass  of  flowers) 

amid  (a  boy  and  a  dog) 

silva  (a  scene  in  a  forest) 

navigant  (two  boys  in  a  sail  boat) 

vidi  (a  tiny  D) 

libri  (a  row  of  books) 

arma  (pistols  and  guns) 

pugna  (a  wrestling  match) 

quattuor  (a  picture  of  four  boys) 
pedes  (pairs  of  feet  cut  from  pictures) 
cam  (children's  wagons) 
porta  (a  gate  in  a  fence) 


[31] 


PEGASUS 

(Let  your  imagination  ride  Pegasus  to  solve  this  Latin  cross-word  puzzle) 


a 

■T" 

1 

a 

6 

9 

w 

3 

10 

4 

It 

^m 

13 

14 

15 

■ 

16 

17 

16 

19 

20 

21 

22 

23 

ZA- 

2?1 

26 

27 

2& 

& 

■ 

■44 

II 

32 

33 

■  34 

35 

37 

3d 

39|40 

41 

42 

43 

45 

46 

47 

43 

49 

50  1      |5I 

I 

53 

54 

■ 

■ 

■ 

56 

\i7 

■ 

■■ 

■ 

60 

61 
64" 

62 

I 
1 

65 

■  06  [o  7 

6S 

■ 

m 

m               gi 

78  1 

79 

1    1 

51 

62 

II 

<M 

65 

■ 

56 

j    I    |  - 

69 

I 

91 

92 

■ 

I 

. 

96  1              |97  | 

l~ 

99  |100 

I 

■l02  1    ' 

10) 

104 

105 

10b  |      |l07 

106 

109 

110 

III 

un 

■ 

115 

a 

114 

115 

m 

■ 

119 

■ 

120 

121 

■ 

122 

■■ 

123 

124 

125 

126 

127 

i    ■'zs  ■"''.""     |  HH 

129 

130 

piT 

Il52  jl53 

134 

135 

1% 

157  |l3d 

■ 

159 

■ 

■ 

142 

+3 

144  |I4S  | 

146 

■ 

146 

149 

■ 

150 

151 

152 

IS 

154 

155" 

156 

157 

156 

159 

160 

161 

163 

164 

165  1 

Ice 

■ 

■ 

■ 

■ 

■ 

■ 

■ 

J 

[32] 


VERTICAL 


1.  Away  from. 

2.  Across. 

3.  By  ravaging. 

4.  So. 

5.  Thus. 

6.  Having  used  (Mas.  Dat.  Sing.). 

7.  In  order  that. 

8.  It  was  an  ox. 

9.  To  have  driven. 

10.  He  goes. 

11.  Where? 

12.  Change.   (Thou). 

13.  I  love. 

14.  Strife,  dispute. 

17.  Will  they  entreat? 

18.  With  dew. 

19.  Nero. 

20.  You  (Sing.)  will  have  carried  across. 

21.  Aeneas   (Ace). 

29.  Of  juice. 

30.  You    (Sing.)    think. 

31.  Fields. 

32.  Bronze. 

35.  May  he  be! 

37.  By  them. 

38.  Far  apart,  scattered   (Neuter  Plur.). 

39.  To  them. 

40.  Swim  (Thou). 

41.  You    (Sing.  Ace.) 
45.  Of  the  stream. 

47.  Musical  instrument,  pipe. 

48.  With  a  horse. 

49.  The  country. 

50.  Thing  (Abl.). 

51.  Of  wine. 

53.  (In  order  that)   you   (Sing.)   may 
drive. 

54.  Me  plus  question  sign. 
60.  To  eat. 

67.  Rose-colored    (Abl.  Plur.). 

68.  You   (Plur.)    stand  near. 

73.  And. 

74.  Bravo! 

75.  The  same. 

76.  Hard,  pitiless    (Fern.). 


81.  Of  the  Nile. 

82.  Me. 

83.  Not. 

87.  Crown. 

88.  Altar. 

91.  New  (Mas.  Sing.  Voc). 

92.  I  have  bought. 
94.  Him. 

97.  If. 
100.  He  had  decided. 

102.  Two  (Mas.  Ace). 

103.  May  it  fail,  be  wanting. 

104.  Having  been  ordered  (Mas.  Plur.), 

105.  Thou  shalt  love. 

107.  See    (Supine). 

108.  He  enters. 

109.  Make   (Thou)   a  noise. 

110.  Battering  ram. 

111.  Having  been  sent  (Abl.  Plur.). 

112.  I. 

113.  Dido. 

116.  You  (Plur.)  have  wandered. 

117.  By. 

119.  Having  used  (Mas.  Plur.). 

120.  We  throw  back. 

121.  It  is. 

127.  A  wild  animal. 

128.  Nature,  character   (Abl.  Plur.). 

130.  To  make  an  effort. 

131.  Out  of. 

133.  Interjection  of  pain  or  surprise. 

134.  They  order. 

135.  Them  (Fern.  Ace.  Plur.). 

136.  In  order  that. 

137.  Swim  (Thou). 

138.  I  have  withdrawn,  deserted. 
140.  Her  (Ace.  of  Personal  Pronoun). 
142.  I  Swim. 

145.  Noses. 

146.  Him. 
148.  Black. 

151.  Altar   (Ace). 

152.  Milk. 

154.  Moon. 

155.  Of  you  (Sing.). 

161.  (In  order  that)    I  may  give. 


[33] 


HORIZONTAL 

5.  Under. 

88.  Nourishing,  kind   (Fern.). 

7.  Fertile. 

89.  Unbidden   (Mas.  Plur.). 

10.  Go  (Perf.  Part.  Neuter). 

90.  For  a  burden. 

13.  You    (Sing.)   feed. 

93.  Himself. 

15.  Toga. 

95.  Rome. 

16.  They  will  carry. 

96.  Your    (Mas.  Sing.). 

21.  To  a  friend. 

98.  Of  the  egg. 

22.  But  if. 

99.  You  (Sing.)  go. 

25.  I  burn. 

101.  Lest. 

24.  Journev.   march. 

103.  Divine  (Fern.). 

25.  Them  '(Mas.  Ace.  Plur.). 

106.  Divided   (Fem.  Ace.  Sing.). 

26.  To  be. 

112.  She. 

27.  A  household  god. 

113.  God  (Ace). 

28.  You   (Sing.)  plough. 

114.  On  the  shores. 

30.  Or. 

115.  Having  been  sent  (Fem.  Plur.). 

32.  Art. 

117.  For  the  donkeys. 

33.  You   (Sing.)    are  absent. 

118.  Incense. 

34.  Burden. 

120.  Thing. 

36.  With    (his)    mouth. 

122.  We  (Fem.)  have  been  distributed. 

37.  Made  of  silver  (Fern.  Plur.). 

123.  You   (Sing.)   are. 

42.  You    (Sing.). 

124.  I   am  at  leisure. 

43.  I   know. 

125.  If. 

44.  It  is  a  foreign  country. 

126.  To  him. 

46.  He  breaks  off,  interrupts. 

127.  It  is  made. 

52.  You  (Sing.)  will  have  entered. 

129.  Before    (Adv.). 

53.  And  those    (Mas.)    (who  had  been)    132.  These   (Neuter). 

moved  awav. 

134.  Enter  (Abl.  of  Gerund). 

55.  I  go. 

139.  By  force. 

56.  Road. 

140.   (In  order  that)   you    (Sing.)    may 

57.  Knee   (Abl.  Plur.). 

go- 

58.  Error. 

141.  To  be  burned. 

59.  To   the   defendants. 

142.  Having  jested    (Fem.  Plur.). 

61.  By  Nerius. 

143.  He  goes. 

62.  He  goes. 

144.  In. 

63.  To. 

146.  Let  him  go. 

64.  Himself. 

147.  Love  (Thou). 

65.  Swim    (Thou). 

149.  You   (Sing.)    are  against,  injure. 

66.  Altar. 

150.  False  (Abl.  Plur.). 

69.  Thing  (Abl.). 

153.  High,  deep   (Neuter). 

70.  Go  (Thou). 

156.  That,  so  that. 

71.  You   (Plur.). 

157.  Lo!  Behold! 

72.  Of  anger. 

158.  He  was. 

75.  It. 

159.  His    (Ace.  of  Reflexive). 

77.  Out  of. 

160.  But. 

78.  I  am. 

162.  If  not,  unless. 

79.  He  is. 

163.  Of  Cacus. 

80.  Second  (Neuter). 

164.  Enter  (Thou)  in. 

84.  Accused,  prosecuted  (Fern.). 

165.  Thing  (Abl.). 

85.  They  have  gone. 

166.  The  Tiber  (Ace). 

86.  He  has  gone. 

[34] 


ANNUAL  MEETING  OF  THE  CLASSICAL  ASSOCIATION   "T7^  """ * 
OF  THE  MIDDLE  WEST  AND  SOUTH 

Teachers  of  Latin  in  Illinois  will  be  interested  to  know  that  the 
next  annual  meeting  of  the  Classical  Association  of  the  Middle  West 
and  South  is  to  be  held  April  1,  2,  3,  1926,  at  Champaign  with  the 
University  of  Illinois. 

This  will  give  us  an  unusual  opportunity  of  attending  in  large 
numbers  and  of  gaining  from  personal  contact  the  inspiration  that  comes 
from  meeting  our  colleagues  from  far  and  near  and  from  hearing  the 
varied  ideas  expressed  in  pedagogical,  archaeological,  and  literary 
papers. 

MEMBERSHIP  IN  THE  CLASSICAL  ASSOCIATION  OF  THE 
MIDDLE  WEST  AND  SOUTH 

"Do  it  now!"  Join  the  "Classical  Association  of  the  Middle  West 
and  South"  by  sending  your  name  and  address,  with  the  yearly  mem- 
bership fee  of  $2.00,  to  W.  L.  Carr,  Secretary-Treasurer,  Ann  Arbor, 
Michigan. 

HELPS  FOR  LATIN  CLUBS 
Flickinger,  Roy  C.   Songs  for  The  Latin  Club.   Chicago,  Illinois:    The 

University  of  Chicago  Press.   75  cents.   Twelve  or  more,  50  cents 

each. 

This  collection,  which  has  been  prepared  with  musical  notation, 
contains  all  the  songs  in  the  third  edition  of  "Carmina  Latina"  and  two 
additional  numbers.  There  are  in  all  24  songs,  including  "America," 
"The  Star-Spangled  Banner,"  "Adeste  Fideles,"  "Lead,  Kindly  Light," 
"Holy  Night,"  "Gaudeamus  Igitur,"  "Prairie  Flower,"  and  "Brother 
John." 

Wilson,  Lillian  M.    The  Roman  Toga.    Baltimore,  Maryland:    The 

Johns  Hopkins  Press.    $5.00. 

This  book  contains  diagrams  or  drawings  giving  the  shape  of  each 
form  of  toga,  with  schedules  of  measurements  and  proportions.  Numer- 
ous illustrations  show  the  different  forms  of  the  toga  and  the  process  of 
draping  them  on  living  models.  Practical  suggestions  are  given  regard- 
ing the  making  of  the  toga,  materials  to  be  used,  color,  and  so  forth. 


[35] 


CIRCULARS  OF  THE  BUREAU  OF  EDUCATIONAL  RESEARCH,  COLLEGE 
OF  EDUCATION,  UNIVERSITY  OF  ILLINOIS,  URBANA,  ILLINOIS 

No.  19.  Streitz,  Ruth.    Provisions  for  Exceptional  Children  in  191  Illinois  Cities. 

No.  20.  McClusky,  Frederick  Dean.    Place  of  Moving  Pictures  in  Visual  Education. 

No.  21.  Monroe,  Walter  S.    Announcement  of  the  Bureau  of  Educational  Research 
for  1923-24. 

No.  22.  Odell,  Charles  W.    Provisions  for  the  Individual  Differences  of  High  School 
Pupils. 

No.  23.  Monroe,  Walter  S.    Educational  Guidance  in  High  Schools. 

No.  24.  Nolan,  Aretas  W.   The  Project  in  Education  with  Special  Reference  to  Teach- 
ing Agriculture. 

No.  25.  Monroe,  Walter  S.  and  Clark,  John  A.    Measuring  Teaching  Efficiency. 

No.  26.  Barton,  H.  J.,  Clark,  E.  L.,  Pence,  Helen,  and  others.   Notes  on  the  Teaching 
of  Latin  in  High  Schools. 

No.  27.  Streitz,  Ruth.  Educational  Diagnosis. 

No.  28.  Staley,  Seward  C.    The  Program  of  Sportsmanship  Education. 

No.  29.  Odell,  Charles  W.   The  Use  of  the  Question  in  Classroom  Instruction. 

No.  30.  Odell,  Charles  W.    The  Evaluation  and  Improvement  of  School  Buildings, 
Grounds  and  Equipment. 

No.  31.  Monroe,  Walter  S.   The  Planning  of  Teaching. 

No.  32.  Miller,    F.    J.,    Flickinger,    R.    C,    Sargent,    Rachel    L.,    Luke,    Ethel    J., 
Thompson,  Glenna  D.,  and  others.    Latin  in  High  Schools. 

No.  33.  Odell,    Charles    W.     Educational    Tests    for    Use    in    Elementary    Schools, 
Revised. 

No.  34.  Odell,  Charles  W.    Educational  Tests  for  Use  in  High  Schools,  Revised. 

No.  35.  Monroe,  Walter  S.    The  Making  of  a  Course  of  Study. 

No.  36.  Reagan,    George    W.     Principles    Relating    to    the    Engendering   of    Specific 
Habits. 

No.  37.  Herriort,  M.  E.    How  to  Make  a  Course  of  Study  in  Arithmetic. 

No.  38.  Odell,  Charles  W.    The  Assignment  of  Lessons. 

No.  39.  Prescott,    Henry    W.,    Flickinger,  Roy    C,    Woodruff,    Laura    B,    Whaley, 
Irene  G.,  and  others.    Appreciation  of  Latin. 

A  limited  number  of  copies  of  these  educational  circulars  are  available  for  free  distribution  to 
superintendents  and  teachers  in  Illinois.  We  shall  be  glad  to  add  to  our  mailing  list  for  these 
circulars  the  names  of  any  teachers  or  superintendents  who  care  to  receive  them  regularly.  We 
shall  be  glad  also  to  send  additional  copies  of  any  circular  to  superintendents  or  principals  for  dis- 
tribution among  their  teachers.  Address  all  communications  to  the  Bureau  of  Educational  Research, 
University  of  Illinois 


